LA Philharmonic How a Little Los Angeles Orchestra Became a National Icon

Home , Alfred Wallenstein, Gustavo Dudamel, Los Angeles Philharmonic, Walter Henry Rothwell

AFM LOCAL 47 Vol. 1 No. 4 April 2015

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LA Philharmonic How a little Los Angeles orchestra became a national icon

On the Homefront STAR WARS Local 47 General Membership Meeting: April 27 John Williams brings ‘The Force Awakens’ Spring Membership Drive: Now–June 30 to Los Angeles DISCLAIMER

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Publisher Editor AFM Local 47 Gary Lasley 817 Vine Street Hollywood, CA 90038-3779 Managing Editor / Ad Manager p 323.462.2161 Linda A. Rapka f 323.461.3090 www.afm47.org Lead Graphic Designer Nate Herrera

Titled Officers Hearing Board President: John Acosta Alan Estes, Chuck Flores, Overture Online is the official electronic Vice President: Rick Baptist Jon Kurnick, Jeff Lass, monthly magazine of the American Federa- Secretary/Treasurer: Gary Lasley Norman Ludwin, Allen Savedoff, tion of Musicians Local 47, a labor union for Marc Sazer Trustees professional musicians located in Holly- Judy Chilnick, Dylan Hart, Hearing Representative wood. Bonnie Janofsky Vivian Wolf

Directors Salary Review Board Formed by and for Los Angeles musicians Pam Gates, John Lofton, Rick Baptist, Stephen Green, over a century ago, Local 47 promotes and Andy Malloy, Phil O’Connor, Bill Norman Ludwin, Marie Matson, Paul Sternhagen protects the concerns of musicians in all Reichenbach, Vivian Wolf areas of the music business. Our jurisdic- Delegates to AFM Convention Fair Employment Practices tion includes all counties of Los Angeles John Acosta, Rick Baptist, Committee Pam Gates, Bonnie Janofsky, Ray Brown, Beverly Dahlke-Smith (except the Long Beach area). With more Gary Lasley, Norman Ludwin than 7,000 members, Local 47 negotiates Grievance Committee 1st Alternate Delegate Ray Brown, Lesa Terry with employers to establish fair wages Phil O’Connor and working conditions for our members. Legislative Committee Local 47 officers and staff enforce union 2nd Alternate Delegate Kenny Dennis, Greg Goodall, Dan Vivian Wolf Greco, Lisa Haley, Ken Munday, contracts, assuring professional standards Stephanie O’Keefe, Jason Poss and treatment for our musicians. Officers Emertius President Emeritus Hal Espinosa Orientation Committee President Emeritus Max Herman John Acosta, Rick Baptist, Local 47 is affiliated with the American Fed- Secretary/Treasurer Emerita Gary Lasley eration of Musicians of the United States Serena Kay Williams Relief Committee and Canada, the largest organization in the Election Board Gary Lasley, Jack Redman, Ed world representing the interests of profes- Brian O’Connor, Bevan Manson, Vodicka, Vivian Wolf Marie Matson, Paul Sternhagen, sional musicians, which encompasses 424 Mark Zimoski Wage Scale Committee Locals and represents 85,000 musicians Rick Baptist, Judy Chilnick, Greg Huckins, Bonnie Janofsky, Phil O’Connor, Rob Schaer Advertisement Contents

Overture Online / Vol. 1 No. 4 / April 2015 / afm47.org

Cover Story Columns

‘Star Wars: The Force Awakens’ to Score in LA LA Philharmonic

How a little Los Angeles orchestra rose to become a national icon

In a reversal of the current tide of runaway production facing our scoring community, music for “Star Wars: The Force Awakens” moves from London to the U.S.

Officer Reports

EMD Report

Above photo: Vern Evans At the Local Front cover photo: Linda A. Rapka

On the Town Features Final Notes Yes on Good News for Recording Musicians Open Mic AB AB 1199 on the road to improving the state’s film/TV tax credit program relating 1199 to music scoring Labor News

Happy Birthday to Us! Referral Service As Local 47 turns 118 this year, here’s a look back at the humble beginnings of the musicians union of Los Angeles Health & Welfare

Take Me Out to the Ballgame Bulletin Board Dodger organist Nancy Bea Hefley talks about her three decades with L.A.’s Boys in Blue Auditions

Local 47 Referral Service is Now: GIG JUNCTION Classifieds Our Referral Service is excited to announce a brand new name, and a new look to match! Advertise President John Acosta

I hope this message finds you well and in good spirits! As you read these words you should have in your hands the first glossy Overture magazine since the 1950s. All of us here at Local 47 are extremely overjoyed by this change and we hope that you will be as well. Big props to our Secretary/Treasurer Gary Lasley and Communica- tions Director Linda Rapka for their hard work shepherding this transformation. I also am pleased to announce that our monthly electronic Overture Online has now officially launched in the Apple Store and Google Play (for Android). The effort to go modern has been herculean and it would not have happened without Gary and Linda, along with their support staff. And how better than to celebrate this historic change in Overture’s history than by honoring the men and women in the Los An- geles Philharmonic – one of the great American orchestras!

Also on the big-news front this month: Local 47 turns 118 years old! From our very early years when we first chartered with 17 musicians working in Vaudeville, to today where, with over 7,000 members, we represent musicians in all facets of the industry creating music that plays around the globe, Happy Birthday Local 47 and may there be many more! Musicians Stand Up!

I am extremely pleased to announce the introduction of AB 1199 in the CA legisla- ture, a bill designed to improve how the tax credit regime currently in play affects music scoring. This is a major first step to create a tax credit program that really works to bring musician jobs back to the state. While this is good news, it is only round one in a fight to save our industry. Now is the time for our leadership, members and community to stand up and begin to create meaningful change for CA musicians. Local 47 along with Local 6 San Francisco have begun the preliminary organizing necessary, but we need every AFM member in CA to “Stand Up” and get involved by joining us at events, on a delegation to speak with legislators, signing a petition or simply sending a letter to your elected representative. If we mobilize as a union we will be a force to reckon with. I urge you all to get active, get involved and stand up! Sign up for email action alerts at afm47.org/organizing.html.

Fraternally yours, John Acosta Vice President Rick Baptist

Memories of the Overture

I hope all of you are happy and as thrilled as I am with the new format of this Over- ture. Kudos to editor Gary Lasley and longtime managing editor Linda Rapka for all of their hours and days of hard work to put together the new Overture Magazine. Bravo, you are amazing!!

When I joined Local 47 in 1979, I remember thinking I can hardly wait to have my picture in the Overture. I remember one of the first times was a report on the Os- car Orchestra with photos with Bill Conti as the conductor. I believe it was the 53rd Annual Academy Awards.

One of my true heroes in Los Angeles was the great first trumpeter John Audino. John (“The Imp” as we called him) said he could hardly wait for the Overture every month. When I asked why, he said the first thing he did was look at the column “Notes From Tony.” Tony Horowitz would use at least one big observation he got out of Readers Digest and used it throughout his article. He said he would always crack up at that. Then he would go to the back of the Overture and look at change of addresses. Again, I questioned him on that, and he said, “You can find out a lot about what is happening in town just from the address changes.” Any wonder why we called him The Imp.

My other true hero was Warren Luening. Warren was my mentor and guru of studio playing. He once said to me, and I quote, “I never want to see your name listed in the Unpaid Work Dues column. It shows no class or appreciation to our union for all the work that you do. Pay your dues.” I am proud to say my name has never been listed.

I would like to speak briefly about my Motion Picture/TV Employment Task Force. The eight musicians plus President John Acosta, myself, EMD Administrator Gor- don Grayson, and Commissioner Jimmy Valentine with the Federal Mediation and Conciliation Service (FMCS) have and will continue to meet and put in the countless hours needed to bring to our colleagues viable options for creating and implement- ing new contracts for our fellow members. We hope that the Federation and the IEB enact those new ideas to not only help our town but to save our industry na- tionwide. Please hang in there with us on these matters. The Task Force is up to the challenge. Secretary/Treasurer Gary Lasley

Welcome to the new Overture magazine! Going forward we will still report all important member information, union business and official notices in the quarterly print edition. In addition a monthly edition will be published online, and I’m excited to announce the launch of the Overture app. If you own an Android phone or tablet, you can go to Google Play and download the app. If you have and iPhone or iPad you find it in the App Store. Now the monthly Overture will always be just a tap away, on any device! I’d like to thank and congratulate Communications Direc- tor and Overture Managing Editor Linda Rapka and Graphic Designer Nate Herrera for all of their hard work to make this a reality.

The musicians of the Los Angeles Philharmonic are the perfect choice to grace the cover of the inaugural Overture magazine/app. They are among the most renowned symphony orchestras in the nation and beyond. The Los Angeles Philhar- monic is not only the crown jewel of Local 47, but also of the artistic fabric of Los Angeles and the greater Southern California region. I’d like to thank my friends and colleagues in the Los Angeles Philharmonic for their contributions to Local 47 and to the artistic life-blood of our great city.

Our next General Membership meeting is Monday, April 27 at 7:30 pm in the Sere- na Kay & Earl Williams Auditorium. Besides the officers’ reports, there are two resolutions to amend the Local 47 Bylaws (you can read them here) and there will be a report by the Task Force on recording issues. These are issues that affect us all so it is vitally important that you attend and lend your voice to the governance of our union. Your voice matters and we’re listening.

Beginning April 1 Local 47 will be having a membership drive. Between April 1 and June 30 new members can join without paying any initiation fees. Currently new members pay a $25 initiation fee to Local 47 and $65 to the AFM. That’s a $90 discount! Spread the Word! If you know musicians who are working non-union or if you have friends or students who are sitting on the fence and want to join, now is The Time. Tell them about the value of union membership.

I sincerely hope you enjoy the look and feel of the new Overture Magazine and apps. It’s still a work in progress and your comments and suggestions are always appreciated. Until next time, thanks for listening. May the creative juices flow -free ly from your hearts to the world’s ears, and may your lives be filled with love and laughter.

Warmest Regards, Gary Lasley Electronic Media Division Administrator Gordon Grayson

Firstly, it is a pleasure to present these words in the new glossy format Overture quarterly, in addition to the new Overture Online versions. Add mine to the chorus of congratulations to Linda Rapka, Nate Herrera and Gary Lasley for this spectacu- lar, premier edition of our renowned publication.

So, what about that jingle 52-week initial use cycle per commercial in all media including, without limitation, television, radio, Internet, non-broadcast and foreign use, you say…? Funny you should ask…

In the last EMD Report, I briefly discussed a provision of the new AFM Commer- cial Announcements Agreement, which allows a company the option to pay for an initial use cycle of one full year in all media, on a per-spot basis. During the jingle negotiations, the companies indicated that up-front cost aside, the simplicity of this ‘one-stop shop’ reuse schedule would encourage employment, and guarantee longer reuse for many spots that might not otherwise see anything close. Since that report, however, we have not seen an overwhelming rush by companies to make use of this new all media option, but perhaps many local employers are just not aware of it. Let’s spread the word.

At $1,245 per side musician instrument line for the first year ($2,490 per leader, contractor, arranger or orchestrator), the company’s option to use an individual spot across all media is not cheap, but it does represent a significant discount on the total cost of that use, were you to itemize each cycle in each medium. The second and all following years’ use at the familiar 75%, or $933.75, represents further savings to advertisers, as well as guaranteed up-front reuse payments to the musician(s) – hopefully a good deal to all parties concerned.

And, of course they wanna film that Demo session… Now, they can.

The Demonstration Recording Agreement has traditionally been intended exclusively for audio-only recording for personal use and study, or presentation for either promotional use or to obtain employment or other advancement. That said, Em- ployers’ interest in filming Demonstration sessions has been on the rise for a while, in a trend that appears to be here to stay. This and other Local Electronic Media Divisions have been fielding more and more requests for all manner of waivers, rid- ers, fees and discounts to allow video capture during previously “audio-only” Demo sessions, and responding on a case-by-case basis.

I am happy to report that the Federation and its IEB has now addressed the issue on a national level, instructing AFM Locals to include new language in their Demo Agreements, which will allow filming to occur on a limited basis. Use of captured footage will be limited to two minutes with no complete songs, and for archival or “Electronic Press Kit” promotional purposes only. The Demo filming fee is an additional 25% of pensionable, scale wages to the musicians so engaged.

While this is not the full filming waiver that some requested, it does represent the AFM’s responsive, new national standard for a service that is increasingly sought by employers, at a reasonable rate to the musicians performing it.

And, as always… Advertisement At the Local

Next General Membership Meeting Monday, April 27, 7:30 p.m. Local 47 Serena Kay & Earl Williams Auditorium On the Agenda (subject to change): Dual Capacity Policy Reminder Local 47 welcomes and encourages the participation of dual-capacity members - Presentation of 50-Year Pins Employment Task Force — e.g. musicians who also perform services as agents of employers or engagers - Resolutions to Amend the - Officer Reports of musicians for employers — in all union meetings, subject only to the restric- Bylaws (text available in the - Old and New Business tions contained in the AFM policy implemented in compliance with federal law. Member Section at afm47.org) Food & refreshments will be This policy states that dual-capacity members shall be excluded from portions - Report from Motion Picture/TV served of Local and International union meetings open to the general membership that concern Federation CBAs and campaigns. Click here to read the full IEB policy.

Upcoming Events Ongoing Events

Executive Board Meetings Tuesdays, 10 am Local 47 Board Room Members welcome as observers

New Member Orientation Third Thursdays, 2 pm Local 47 Conference Room

ASMAC Town Hall Meeting Finale (MAC and IBM) Users Group @ Local 47 Fourth Wednesdays, 7:30 pm 817 Vine St. Hollywood @ Local 47 Contact Bonnie Janofsky: 818.784.4466, Wednesday, April 22 [email protected] 7:30-10 pm L.A. Bass Club Contemporary issues facing Arrangers, Orchestrators and Com- Last Sundays, 2-4 pm posers. Free event, open to the public www.asmac.org Local 47 Rehearsal Room 1 Co-sponsored by RMA and Local 47. Contact Tony Grosso: 818-994-4661 818.326.4323, [email protected]

L.A. Mambo All-Star Orchestra Every other Monday, 1–3 pm Orchestration With Dr. Norman Ludwin Local 47 Rehearsal Room 1 Free paired course for all Local 47 members Open reading/rehearsal sessions at Local 47. Instrumentation: 4 trumpet, 4 trombone, 2 alto sax, 2 tenor sax, 1 baritone sax, traps, bass, piano, congas, bongos, timbales, male and female vocalists. Orchestration I: July 18-Sept 5, 2015 Genres: Latin jazz, mambo, Afro-Cubano, samba, Participants are introduced to orchestral instruments and their usage. salsa, danzón, Afro-bolero, cumbia jazz, bossa, bolera & more! Two areas are covered: instrumen- Please have good reading skills; improvisational skills are a tation, which deals with the con- plus! Charts range from medium to advanced. Contact Bobby struction, sound production, range, Chávez: (323) 774-9222, [email protected] notation, and playing techniques of each instrument; and orchestration, which is the actual process of scor- L.A. Pianists Club ing music for orchestra. Groups of Last Wednesdays, 12:30-2:30 pm instruments examined include brass, strings, woodwinds, keyboards, Serena Kay & Earl Williams Auditorium harp, and percussion. Class sessions We have all styles, from jazz to pop to classical. We welcome and involve score study, instrumental encourage all pianists to join us! Any questions, contact Jeff Lass at demonstrations, and performance [email protected] and discussion of student assignments. Prerequisite: Basic knowledge Samm Brown ‘For the Record’ of music fundamentals; e.g. notes, Every day @ 11 am keys, scales, meter, etc. RSVP: 323.993.3179, jeff [email protected] on ProMusic 47 Radio Longtime KPFK radio host and Local 47 member Samm Brown joins Orchestration II ProMusic 47 Radio with his popular show that focuses exclusively on Sept 12-Oct 31, 2015 the entertainment industry. Tune in every day at 11 a.m. to Students will learn composition and elements of form by looking at live365.com/profi les/local 47 contemporary styles of music, score study, analysis of diff erent composers’ methods of orchestration, score reduction (e.g. learning how to reduce an orchestral score to a piano part, or reducing to a fi ve- Symphony 47 line staff ), and possible guest lecturers. The ending course project is Mondays at 11 am - 1 pm a recording of students’ original compositions by the Symphony 47 Serena Kay & Earl Williams Auditorium orchestra. Local 47’s orchestra, led by Maestra Eímear Noone, former conductor of the Dublin City Concert Orchestra and a regular on po- diums of L.A.’s most prestigious recording studios, invites everyone to join — Union, non-Union, students, and all community members who have a love for orchestral playing. Mondays, 11 a.m. to 1 p.m. Serena Kay & Earl Williams Auditorium. Dr. Janice Foy, orchestra liaison: (818) 892-8737, [email protected] ASMAC Town Hall Meeting @ Local 47 817 Vine St. Hollywood

Wednesday, April 22 7:30-10 pm

Contemporary issues facing Arrangers, Orchestrators and Com- posers. Free event, open to the public www.asmac.org 818-994-4661

Orchestration With Dr. Norman Ludwin Free paired course for all Local 47 members

Orchestration I: July 18-Sept 5, 2015 Participants are introduced to orchestral instruments and their usage. Two areas are covered: instrumentation, which deals with the construction, sound production, range, notation, and playing techniques of each instrument; and orchestration, which is the actual process of scoring music for orchestra. Groups of instruments examined include brass, strings, woodwinds, keyboards, harp, and percussion. Class sessions involve score study, instrumental demonstrations, and performance and discussion of student assignments. Prerequisite: Basic knowledge of music fundamentals; e.g. notes, keys, scales, RSVP: 323.993.3179, meter, etc. [email protected]

Orchestration II Sept 12-Oct 31, 2015 Students will learn composition and elements of form by looking at contemporary styles of music, score study, analysis of different composers’ methods of orchestration, score reduction (e.g. learning how to reduce an orchestral score to a piano part, or reducing to a five-line staff), and possible guest lecturers. The ending course project is a recording of students’ original compositions by the Sympho- ny 47 orchestra. Executive Board Meetings Tuesdays, 10 am Local 47 Board Room Members welcome as observers New Member Orientation Third Thursdays, 2 pm Local 47 Conference Room Finale (MAC and IBM) Users Group Fourth Wednesdays, 7:30 pm @ Local 47 Contact Bonnie Janofsky: 818.784.4466, [email protected] L.A. Bass Club Last Sundays, 2-4 pm Local 47 Rehearsal Room 1 Co-sponsored by RMA and Local 47. Contact Tony Grosso: 818.326.4323, [email protected] L.A. Mambo All-Star Orchestra Every other Monday, 1–3 pm Local 47 Rehearsal Room 1 Open reading/rehearsal sessions at Local 47. Instrumentation: 4 trumpet, 4 trombone, 2 alto sax, 2 tenor sax, 1 baritone sax, traps, bass, piano, congas, bongos, timbales, male and female vocalists. Genres: Latin jazz, mambo, Afro-Cubano, samba, salsa, danzón, Afro-bolero, cumbia jazz, bossa, bolera & more! Please have good reading skills; improvisational skills are a plus! Charts range from medium to advanced. Contact Bobby Chávez: (323) 774-9222, [email protected] L.A. Pianists Club Last Wednesdays, 12:30-2:30 pm Serena Kay & Earl Williams Auditorium We have all styles, from jazz to pop to classical. We welcome and encourage all pianists to join us! Any questions, contact Jeff Lass at [email protected] Samm Brown ‘For the Record’ Every day @ 11 am on ProMusic 47 Radio Longtime KPFK radio host and Local 47 member Samm Brown joins ProMusic 47 Radio with his popular show that focuses exclusively on the entertainment industry. Tune in every day at 11 a.m. to live365.com/profiles/local 47 Symphony 47 Mondays at 11 am - 1 pm Serena Kay & Earl Williams Auditorium Local 47’s orchestra, led by Maestra Eímear Noone, former conductor of the Dublin City Concert Orchestra and a regular on po- diums of L.A.’s most prestigious recording studios, invites everyone to join — Union, non-Union, students, and all community members who have a love for orchestral playing. Mondays, 11 a.m. to 1 p.m. Serena Kay & Earl Williams Auditorium. Dr. Janice Foy, orchestra liaison: (818) 892-8737, [email protected] Happy Birthday to Us! As Local 47 turns 118 this year, here’s a look back at the humble beginnings of the musicians union of Los Angeles

Editor’s Note: While search- ing the Local’s archives last month we stumbled upon the November 1941 issue of the Overture which fea- tured an article by former president C. L. Bagley titled “47 is 47: Local No. 47 Has a Birthday.” Therein Bagley described in detail some in- teresting historical aspects of the very beginnings of our union, much of which is shared here. We’ve posted a scan of the original docu- ment on the Overture Blog at afm47.org (search key- word “birthday”).

On March 15, 1897, Local 47’s charter and affiliation was approved by the Amer- Local 47’s charter of affiliation, ican Federation of Musi- signed in 1897, still hangs on cians. This monumental day our walls. marked the end of a long struggle for musicians in Los Angeles who tried, then failed, and ultimately succeeded in effectively organizing with the union we belong to today.

The first attempt to form a local of musicians in L.A. was made in 1888, when on April 1 the Los Angeles Musical Protective Association was founded. The Constitution adopted declared that “the object of this Association shall be to unite the musical profession for the protection and better regulation of its members, to promote the cultivation of the Art of Music.” The Association had 64 members and soon after coming together became Local No. 19 of the National League of Musicians of the United States—then the National body. But, coming into existence right at the height of the “Great Boom” of 1885-1888, the endeavor to organize was not a success, and in 1891 the organization died of ina- nition (an obscure word from Bagley’s original article meaning “lack of nourishment or spirit”). Thereafter conditions among musicians went from bad to worse and there seemed no remedy for the situation.

In 1894, three principal orchestras—those of William Frank Arend, Ad- olf Lowinsky, and Schoneman & Blanchard (Harry H. Schoneman-Clar- ence W. Blanchard)—were contending for the “outside” business. The Los Angeles Military Band conducted by William D. Deeble was the one regular ensemble in the field of reed and brass music. There were three theaters in the city: the Grand Opera House, Burbank Theater, and Los Angeles Theater. Cafes that employed music were the Vienna Buffet, Royal Bakery, and the Palace Café. Admittedly the business was bad, for conditions were undesirable and wages low.

During October of that year, Arend went among musicians with a pa- per which he asked them to sign agreeing to meet and form another Association for their mutual benefit. As a result, on Tuesday afternoon, Oct. 30, 1894, a considerable number of signatories met together at the rooms of the Republican Club in the Rawson Block, a brick struc- ture which stood on the southwest corner of Second and Main Streets. After deliberation it was decided to call the new organization the Los Angeles Musical Society. After a constitution and bylaws had been adopted, the name was changed to the Los Angeles Musical Association. Soon after it became affiliated with the National League of Musicians as Local No. 19.

Thus began the permanent organization of band and orchestra musicians in Los Angeles. The local started with approximately 100 members and from this small beginning has grown the great body of over 7,000 women and men of AFM Local 47. When the American Federa- tion of Musicians was formed in October 1896, our organization here was among the first to seek membership therein, and under date of March 15, 1897, received its present charter, which now hangs on the walls of our Local. Local 47 Spring Membership Drive April 1 - June 30, 2015

Join now and pay ZERO initiation fees - a $90 discount!

Call 323.993.3116 or visit afm47.org LA Philharmonic

Gustavo Dudamel and the LA Philharmonic at Disney Hall. Photo: Mathew Imaging

How a little Los Angeles orchestra became a national icon

THE LOS ANGELES PHILHARMONIC, at home and abroad, is recognized as one of the world’s outstanding orchestras. Heralded for leading the way in groundbreaking and innovative programming both on stage and in the community, the orchestra presents more than 250 concerts each season and offers a diverse range of outreach programs that reflect the orchestra’s artistry and demonstrates its vision.

The current 2015/16 season marks the orchestra’s 97th, a monumental feat for what started as a small community orchestra with the hum- blest of beginnings. Founded in 1919 by copper baron, arts enthusiast, and part-time violinist William Andrews Clark Jr., the LA Phil began as Los Angeles’s first permanent symphony orchestra. It was a small community orchestra - often with Clark sitting in with the second violin section.

Walter Henry Rothwell became its first Music Director, serving until 1927. After Rothwell’s death, subsequent music directors through the 1920s included Georg Schnéevoigt and Artur Rodziński. Otto Klemperer became Music Director in 1933, part of the large group of German em- igrants fleeing Nazi Germany. He conducted many LA Phil premieres, and introduced Los Angeles audiences to important new works by Igor Stravinsky and Arnold Schoenberg.

After completing the 1939 summer season at the Hollywood Bowl, Klemperer was visiting Boston and was incorrectly diagnosed with a brain tumor, and the subsequent brain surgery left him partially par- alyzed. The following year, Alfred Wallenstein was chosen to lead the orchestra. The former principal cellist of the New York Philharmonic had been the youngest member of the Los Angeles Philharmonic when it was founded, and had turned to conducting at the suggestion of -Ar turo Toscanini. He had conducted the LA Phil at the Hollywood Bowl on a number of occasions, and in 1943 took over as music director. Among the highlights of Wallenstein’s tenure were recordings of con- certos with fellow Angelenos Jascha Heifetz (a cousin of Local 47 Sec- retary/Treasurer Emerita Serena Kay Williams) and Arthur Rubinstein.

By the mid-1950s, department store heiress and wife of the publisher of the LA Times, Dorothy Buffum Chandler, became the de facto leader of the orchestra’s board of directors. In 1960, the orchestra signed Georg Solti to a three-year contract as music director. However, Solti abrupt- ly resigned the position in 1961 without officially taking the post after learning that the Philharmonic board of directors failed to consult him before naming then 26 year-old Zubin Mehta to be assistant conductor of the orchestra. Mehta was subsequently named to replace Solti.

In 1969, the orchestra hired Ernest Fleischmann to be Executive Vice President and General Manager. During his tenure, the Philharmonic instituted a number of then-revolutionary ideas, including the creation of the Los Angeles Philharmonic Chamber Music Society and the Los Angeles Philharmonic New Music Group and its “Green Umbrella” concerts. Both of these adjunct groups were composed of the orchestra’s musicians but offered performance series which were separate and distinct from traditional Philharmonic concerts. They were eventually imitated by other orchestras throughout the world.

Fleischmann also re-introduced the Hollywood Bowl Orchestra in 1990. The first incarnation of a permanent summer orchestra was in 1945 as the Hollywood Bowl Symphony Orchestra. However, after only two seasons the orchestra was disbanded, and all the summer orchestral concerts at the Hollywood Bowl were subsequently performed by the LA Phil. Another incarnation of the Hollywood Bowl Symphony Orches- tra also performed in the 1950s and ’60s.

In 1978, Carlo Maria Giulini took over as LA Phil music director, followed by André Previn in 1985. Following Previn, Esa-Pekka Salonen began his tenure with the orchestra with a residency at the 1992 Sal- zburg Festival in concert performances. Under Salonen’s leadership, the Philharmonic solidified its place as an extremely progressive and well-regarded orchestra on a global scale.

When Fleischmann decided to retire in 1998 after 28-years at the helm, the orchestra named Willem Wijnbergen as its new executive director. One of his most important decisions was to modify Hollywood Bowl programing. He increased the number of jazz concerts and appointed John Clayton to serve as the orchestra’s first Jazz Chair. In addition, he established a new World Music series with Tom Schnabel as programming director. However, his time with the LA Phil was marred by controversy, and in 1999 Deborah Borda, then the Executive Director of the New York Philharmonic, was hired to take over executive management of the orchestra.

Borda began her tenure in January 2000, and was later given the title of President and Chief Executive Officer. She is credited for putting the organization back on solid financial footing, and for her efforts with Sa- lonen to move the orchestra to the Frank Gehry-designed Walt Disney Concert Hall.

In 2009, an exuberant young conductor from Venezuela was appointed to the helm of the orchestra, and instantly took the world by storm. Regarded as a “classical rock star,” Gustavo Dudamel right from the start drew an unprecedented level of interest and excitement from people all over the city from all walks of life, and quickly rose to the ranks of a full-fledged global phenomenon. Just last month the LA Phil- harmonic announced Dudamel’s contract has been extended through the 2021/2022 season, and will add the title of artistic director to his position. Continued LA Philharmonic

Walt Disney Concert Hall at night. Photo: Vern Evans

Today, the LA Phil presents more than 250 concerts at its two iconic venues, Disney Hall and the Hollywood Bowl. These presentations represent a breadth and depth unrivaled by other orchestras or cultural institutions. Since 1922, the orchestra has played outdoor concerts during the summer at the Hollywood Bowl, with the official summer season running from July through September.

During its 30-week winter subscription season at Disney Hall, the orchestra creates festivals, artist residencies, and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. The organization’s commitment to the music of our time is also evident throughout the season programming, as well as in the exhilarating Green Umbrella series and the LA Phil’s extensive commissioning initiatives.

The orchestra’s involvement with Los Angeles extends far beyond symphony concerts in a concert hall. The LA Phil gives performances in schools, churches, and neighborhood centers in many diverse commu- nities. Among its wide-ranging education initiatives is Youth Orches- tra LA (YOLA). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners including the Harmony Project provide free instruments, intensive music training, and academic support to over 700 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. In 2012, the Phil formed an innovative partnership with the Longy School of Music of Bard College. This bi-coastal alliance launched Take a Stand, a national initiative that supports social change through music by providing leaders and students with tools for growth through conferences and workshops, as well as providing progressive and rigorous training for performing and teaching musicians. View the current LA Phil roster here

Always inspired to expand its cultural offerings, the LA Phil each season produces concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of chamber music, organ recitals, and baroque music.

The Los Angeles Philharmonic continues to broaden its audience by broadcasting concerts on radio and television. Thirteen concerts from the 2014/15 season will be broadcast in partnership with Classical KUSC and the WFMT Radio Network, with six also being broadcast on Amer- ican Public Media. The 2013/14 series was nationally broadcast in 313 markets and reached over 3.8 million listeners. In January 2014, Siri- usXM launched a new series “On the Podium with Gustavo Dudamel and the Los Angeles Philharmonic” featuring concert recordings and interviews with Dudamel.

Last season, the LA Phil made a historic partnership with WFMT Radio Network and Shanghai East Radio Company to broadcast select concert recordings on Shanghai Classical 94.7 FM, making the LA Phil one of the first American orchestras to be heard on a regular basis in China. Additionally, through an ongoing partnership with Deutsche Grammo- phon, the LA Phil has a substantial catalog of concerts available online, including the first full-length classical music video released on iTunes.

Further expanding the orchestra’s global reach, every year the LA Phil presents concerts overseas. Just last month they completed a whirl- wind tour of Asia, covering four cities and over 20,000 miles. From March 19-29 the orchestra presented concerts in Hong Kong, Shang- hai, Seoul and Tokyo, performing pieces by Gustav Mahler, Antonín Dvořák and John Adams.

From small community orchestra to a global force to be reckoned with, the LA Philharmonic proves that with tenacity, hard work, and a whole lot of heart, there’s no limit to what can be accomplished. Bravo! LA Philharmonic

Flashback: LA Phil musicians on ‘the new guy’

Photo: Sylvia Lleli

When Gustavo Dudamel first signed on as new musical director of the LA Philharmonic in the 2009/2010 season, the Overture dropped by Disney Hall to find out what the musicians thought about “the new guy.” Here’s what they had to say:

“There’s this humbleness that he has.I can’t think of another 28-year- old person who would be music director of a world-class orchestra.” - Jeff Neville, personnel manager/trombone

“What most people look for in a conductor is clarity in ideas and the technique to describe what he wants to the orchestra. Gustavo does very, very well with that. He works very hard when he’s there. He’s completely involved in what he’s doing.” - Mitch Newman, first violin

“We want to go to that place that he’s trying to take us. With him it feels so collaborative. With every conductor we try and do our best to focus in on their directions and where they want the orchestra to go musical- ly, but with Gustavo, he’s coming from such a unique place that’s full of energy, and love of course. Every note has to have this… meaning.” - Barry Gold, cello

“Gustavo is a beacon of light to the classical world of music, but more than that, he brings with him the possibility of a revolution in the perception of music and the arts in our society.” - Meredith Snow, viola

“He really wants to be considered ‘one of us,’ the musicians, and really work with us to make really good music. And he does seem to have this desire to be a part of the community, to reach out and help young people experience some of the joy that he experiences in the music business. Something about that really transcends across the stage and to the actual people. That’s what he’s really been very effective at; bridging that perceived gap.” - John Lofton, bass trombone /Local 47 Director

“His enthusiasm is the overriding quality of him. It’s genuine, sincere, intense enthusiasm, and that’s wonderful to be around. He loves music and what music can do for people, and he loves people.” - Dennis Trembly, principal bass LA Philharmonic

Historical images courtesy of the Music Center Archives/ Otto Rothschild Collection

Otto Klemperer conducting singer Lucrezia Bori Bentomelli, Hollywood Bowl, 1937

LA Phil Orchestra conducted by Wallenstein,Philharmonic Auditorium, 1944

LA Phil Opening Night, Dorothy Chandler Pavilion, 1964

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Downey Symphony Pantages Theatre Romantic Gems feat. Hao Zhou Newsies April 11 Through April 19

Cabrillo Music Theatre Redlands Symphony Mary Poppins: The Broadway 65 Years of Grandeur Musical April 11 April 17 - 26

Chamber Orchestra of the South Bay San Bernardino Symphony Gala Spring Concert with Beethoven, Brahms & Bartholdy Dmitri Levkovich April 11 April 18

Los Angeles Master Chorale Golden State Pops Orchestra Water Passion After Superhero Soundtracks St. Matthew April 18 April 11 & 12

Colony Theatre Los Angeles Jewish Symphony Words by Ira Gershwin: Jewish Music Encounters A Musical Play April 12 April 18 - May 17

Dream Orchestra West Los Angeles Symphony Young Artists Orchestra Like Father, Like Son: Debut Concert Benjamin & Raphael Wallfisch April 23 April 12

Young Musicians Foundation Debut Orchestra 60th Anniversary Season Finale Los Angeles Chamber Orchestra Baroque Conversations 4 Concert April 23 April 12

El Portal Theatre Pacific Shores Philharmonic Hot August Night: Harp Resounds A Tribute to Neil Diamond April 25 April 16 - 19

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Los Angeles Chamber Orchestra Thousand Oaks Philharmonic Free performance Opus Concert April 17 at Amoeba Records April 26

Ahmanson Theatre Los Angeles Philharmonic Rodgers & Hammerstein’s Brahms’ Fourth Cinderella April 17, 18 & 19 Through April 26

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April 9 April 21 10:00 AM 9:00AM Downey Municipal Theatre Thomas Jefferson Elementary Co-Sponsor: Co-Sponsor: Downey Symphony Burbank Philharmonic Leader/Contractor: Leader/Contractor: Mark Artusio Mark Artusio Side Musicians: 40 Side Musicians: 5 #listenLA spotlight ‘STAR WARS: The Force Awakens’ to Score in Los Angeles

by Linda A. Rapka

The Force is with Los Angeles musicians: For the first time in the film sa- ga’s history, the musical score to “Star Wars: The Force Awakens” will be recorded in Los Angeles by members of the American Federation of Musi- cians Local 47.

Composer John Williams—himself a Life Member of Local 47—is currently at work writing the music for this seventh installment in the “Star Wars” franchise. Williams has composed the music for every film in the series since its 1977 debut. While previous films were scored at Abbey Road with the London Symphony Orchestra, “The Force Awakens” marks the first time a “Star Wars” score will be recorded in the United States.

This project will generate millions in wages, benefits, and other production spending for the Hollywood film scoring community, which has suf- fered from an increase in offshoring of work during the past several years.

Scoring sessions for “The Force Awakens” will take place over the span of several months beginning in April by freelance members of the Los Angeles musicians union Local 47, also known as the Hollywood Studio Orchestra. The orchestra will be put together by music contractor San- dy De Crescent, whose work with Williams began in the early 1970s with Los Angeles orchestras contracted for “E.T. the Extra-Terrestrial,” “Jaws,” and “Raiders of the Lost Ark.” Over the years they have collaborated on several dozen films including Los-Angeles scored films “Superman,” “Ju- rassic Park,” “Schindler’s List,” “Memoirs of a Geisha,” “War Horse,” “The Adventures of Tintin,” and most recently “The Book Thief,” which won the Grammy for Best Instrumental Album and was nominated for Oscar, BAFTA and Golden Globe awards.

The decision to score in Los Angeles was made after producers and director J. J. Abrams heard Williams’ original music for the film’s first trailer, which also was recorded with a Los Angeles orchestra contracted by De Crescent.

“I’m thrilled for the town. This is a huge thing to have happen, at the perfect time,” says De Crescent, commenting on the exodus of scoring jobs affecting not only California but the United States as a whole. “After a very difficult time, this is a wonderful shot in the arm.” John Williams has been nominated for 49 Academy Awards, winning five; six Emmy Awards, winning three; 25 Golden Globe Awards, winning four; 65 Grammy Awards, winning 22; and has received seven British Academy Film Awards. Williams currently holds the record for the most Oscar nom- inations for a living person, and is the second most nominated person in Academy Awards history behind Walt Disney.

“We are excited and proud that our talented pool of Local 47 musicians are scoring the next ‘Star Wars’ film here in Los Angeles,” says AFM Local 47 President John Acosta. “This marks a significant achievement not only in efforts to revitalize the musical community in Hollywood, but also in bringing work historically done abroad here to the United States. We look forward to celebrating many similar future successes.”

“Star Wars: The Force Awakens” also marks the first film Williams will be scoring under the Walt Disney Pictures banner. Disney acquired Lucas- film Ltd., the movie production company founded by “Star Wars” creator George Lucas, in 2012 for $4 billion. The film is scheduled for release on Dec. 18, 2015. Good News for CA Recording Musicians AB 1199 on the road to improving the state’s film/ TV tax credit program relating to music scoring by Vice President Rick Baptist Tax Credits Q&A

Thousands of California musicians suffer- Local 47 member Charlie ing from the effects of runaway produc- Coker, a bassoonist who now tion are encouraged by a new bill that works in film production- fi aims to close loopholes relating to music nancing independent media, scoring in the California Film and Televi- talks turkey about tax credits. sion Job Retention Act. How have tax credits impacted AB 1199, authored by Assemblymember the industry today? Adrin Nazarian, introduces language that What people have to under- stand is that the ecosystem would for the first time require a specified in film has shifted from 20-30 amount of the total expenditures relating years ago, when the majors to music post-production be done in Cali- were making more theatrical fornia in order for a production to qualify film projects. Tax credits aren’t for an added rebate. as big a factor in their thinking as they are for independent film Musicians applaud this preliminary lan- producers. If you’re not a ma- guage as a significant step in the right di- jor or a mini-major, like Sony or rection, and are optimistic that further Warner Bros. or Lionsgate, and development of the bill will continue to if you’re an indie filmmaker, improve upon the existing tax credit pro- you’re going to be looking for gram as it relates to music scoring in Cali- all different sources of financ- fornia. ing, and tax credits and presales are major components of that equation. The importance These initial proposals come as a result of of this fact is that independents significant inroads made by members of are now making more of the the American Federation of Musicians Lo- films in the marketplace. cal 47, the labor union representing more than 7,000 Los Angeles musicians. The Lo- How important are tax credits cal 47 political committee, which includes to a film/TV production? President John Acosta and rank-and-file Tax credits — whether they’re members, has been working with Los An- in California or any other state, geles Mayor Eric Garcetti’s office and local or abroad in places like Europe legislators including Assemblymember and Australia — are part and Nazarian to efforts to amend California’s parcel of independent film Film & Television Tax Credit Program in financing. They are an inte- conjunction with the interests of musi- gral part. A typical way that a financing package can put cians in the state. together for an independent

film is that there are presales Amended last September by AB 1839, the for certain foreign territories. existing tax incentive program—which Before a film goes into produc- awards $300 million annually—offers a tion it may be sold into certain 20% credit on qualified expenses up to foreign territories. The foreign $100 million for feature films and televi- buyers/distributors put up a sion shows and a 25% credit for relocat- deposit and a minimum guar- ed TV series and independent films. The antee, which can be banked to law allows for an additional 5% credit of provide production funding. qualified expenditures when an unspeci- Similarly, tax credits may also fied portion of the music scoring and mu- be banked to provided funding sic-track recording by musicians is done to the production. Reportedly, in California. AB 1199 would for the first at least one European country has a mechanism for the local time require that a minimum of 75%, or production company to just an expenditure of $100,000, for music deduct the tax credit amount scoring and track-recording be done in from the overall production state for productions to qualify for the spend without banking the tax added credit, similar to a requirement for credit. As such, tax credits are visual effects implemented by AB 1839. an integral part of independent film financing – they could be While the current program does include 10, 20, 30% of the budget, or a an added bonus for post-production work few hundred thousand dollars done in-state, it does not make doing this if the film is only doing post in work in California a requirement, and pro- a tax rebate jurisdiction. None- ductions still receive significant credits theless, every little bit counts. even if all post-production is done out of How do tax credits come into state. Musicians are happy that AB 1199 play with post-production? furthers continued efforts to ensure those I’m not an expert on California production companies that benefit from tax credits, but generally inde- California’s $300-million annual tax credit pendent film financiers will look program are made accountable to hold to maximize tax credits where professional musicians to the same indus- they can. I know of a movie try standard as actors, writers, directors, that recently filmed in Georgia grips, carpenters, drivers and other indus- and received a tax credit there, try workers. and then did post in New York and got a tax credit there as “The magic of movies is remembered by well. Where they can, indepen- the music,” says Assemblymember Nazari- dent film financiers will look to an. “When ‘Jaws’ roars onto the screen, avail themselves of tax benefits it’s the music that flutters your heart. We in order to subsidize the budget of the film. If financers can lop need to support our homegrown talent in off 5, 10 or 20% of the produc- Los Angeles. This tax credit will ensure the tion budget through tax credits, creation and production of our musical and it works for the film, then magic remains and thrives in Los Angeles.” why wouldn’t they do it?

AB 1199 is endorsed by all AFM Locals in California: Los Angeles Local 47, Long Beach Local 353, Santa Barbara Local 308, Orange County Local 7, San Diego Local 325, San Francisco Local 6, Sacramento Local 12, Richmond Local 424, Santa Rosa Local 292, and Stockton Local 189. Advertisement Final Notes

In Memoriam Norman Mamey (Henry) Life Member. Conductor 11/7/1948 – 11/22/2014 Survived by spouse

Harold C. Poffenroth Life Member. String Bass 12/25/1919 - 2/26/2015 Survived by spouse

Richard (Rick) Rosas Bass 9/10/1949 – 11/6/2014 Survived by friend/partner

Carolyn C. Stephenson Life Member. Piano 10/12/1928 – 10/3/2014 Survived by daughter Gabriel S. Williams Life Member. Drums 5/16/1912 – 2/20/2015 Survived by daughter

Send your Final Notes remembrances to:

[email protected]

Local 47 Overture Online 817 Vine St. Hollywood CA 90038

Photos are welcome. Submissions are due the 15th of the month. Please keep submissions to a maximum of 600 words. Edwin (Eddie) Metcalfe Life Member. Clarinet (7/20/1918-10/22/2014)

By Duane Metcalfe, son

Edwin (Eddie) Metcalfe, my dad, singer, clarinetist, saxophonist, arranger of music, ardent sup- porter and Lifetime Member of the musicians union Local 47, died in Oro Valley, Arizona of nat- ural causes Oct. 22, 2014.

Dad started his entertainment career at age 10, in Pittsburgh, where he was born, on radio sta- tion KQV acting in radio plays. He moved on to KDKA, acting and singing on “Uncle Henry’s Radio Rascals.”

Dad picked up his first sax at age 11, learned to play well, and started clarinet at 13. He said, “If you’re going to play a woodwind, you should start with the clarinet; it’s a lot easier than saxophone.” Words he made me live by as an adolescent wanting to be “just like Dad.” I lasted six years. Then I took up singing, instead, just like him. It was even easier.

Eddie was playing with dance bands around Pittsburgh by the time he graduated high school. He played with Fran Eichler, Dick Barrie, Leigh- ton Noble, Tommy Tucker and Maurice Spitalny.

He married my mother, Tootie, in 1939, and had my sister in 1941. The Army drafted him in 1943. While in the Army he booked post band dates and produced Army radio shows at Fort Bliss, El Paso.

Eddie rejoined Leighton Noble after the Army. I was born in ’47. Spike Jones heard good things about my dad at this time and offered Dad a job. My sister remembers the day our dad had his horns painted pur- ple at Joe Siracusa’s, the drummer and percussionist, because that’s what Spike wanted. Dad hated it. His horns, he said, always had a lav- ender sheen to them even after he had the paint removed.

Dad as part of his giving back to the community, saw opportunity in joining the Local 47 musicians union band, participating in park concerts around the Los Angeles area and playing in a couple of Rose Bowl parades. He wore out a set of evening dress shoes in his last parade as well as learning that playing clarinet well in the cold with white dress gloves on is not easy.

My sister and I remember a couple of union-sponsored summer pic- nics we attended. There were long, strung-out baseball games being played, and someone remarked, “Remember we’re musicians not baseball players, how good could we be?” Dad also played weekend gigs around Southern California with the Tommy Jones Band, and with the Los Angeles Rams Band… you know the football team?

Dad had a part-time Saturday job in the early ’50s helping a guy make mouthpieces for saxophones. Dad knew nothing about machinery so he didn’t last long at the job. When he sold his horns in the late ’90s the guy who bought them said the mouthpieces that went with the horns were worth more than the horns. Dad was seriously saddened by that comment. Those were his original horns, meticulously cared for over 70 years. No one seemed to care except him.

Dad saw that television, new on the scene, was going to replace a lot of entertainment opportunities in the early ’50s. Dad started a career in radio/TV spot sales at KTTV-TV, Hollywood. Elton Rule, past ABC network president, and Dad started KABC-TV, Hollywood on the same day.

Dad ended his radio/TV career in 1989, retiring from WPTA-TV as a VP/General Manager in Fort Wayne, Indiana. He and my mother moved to “the sand” – Arizona, because neither could agree on a beach or golf course. The golf course, eventually, won.

Mother died Christmas 2000. After a couple of years “batching” it, Dad reunited with Betty Phares, past acrobatic dancer, who toured with her dance troupe with Spike and subsequently later acted in a couple of Three Stooges shorts.

Dad’s last couple of years were quiet and without serious medical issues. Yes, he had older-people issues; heart and dementia. Thankfully he remembered the good times and few bad times. He liked to point out, “Entertainment is my life.” He said the morning he died, “I feel better than some but not as good as others.”

Eddie was 96. Harold ‘Hal’ Clifford Poffenroth Life Member. String Bass 12/25/1919 - 2/26/2015

By the Poffenroth family

Hal was born on Christ- mas day in 1919 in Endicott Washington to John and Mae Poffenroth. Mae, was also born on Christmas day. Hal always said, “If it’s good enough for Jesus it’s good enough for me.”

While growing up in Endi- cott he was given the nick- name of “Dutter,” and that name stuck with him for the rest of his life. Hal followed his three older brothers and a stepbrother and joined the Army Air Corps during WWII. Mae had five stars in her window, and all five brothers were in different branches of the service. While stationed at Blythe, California, he lost his left eye when he was hit with a piece of shrapnel. After spending a year in the Veterans Hospital in L.A. he was medically discharged from the Air Corps.

Using the GI Bill, Hal went on to study music at the Los Angeles Conser- vatory of Music. Hal was an accomplished bass player, both stand-up and electric; he also played drums and piano and had the most wonderful voice. Hal worked with many musicians in the Los Angeles and Hollywood area. One of his proudest moments was playing bass with the June Lynn trio at the Hollywood Palladium. At the time of his death Harold was a proud Lifetime Member of Musicians Local 47 in L.A.

He moved back to Washington in the 1950s and joined the Spokane music scene. Hal spent the next 20-some years with the Don Eagle Trio at the Ridpath Roof. During the summer the trio would go on the road and had a blast playing up and down the coast. One of their favorite places to play was Winnemucca, Nevada, where they made lifelong friendships.

During the swinging ’60s the Don Eagle trio had a weekly television show where Hal was known as the voice of Spokane. When Don retired, Hal formed his own band the Hal Poffenroth Trio with Amil Kyseth on piano and Ron Slama on drums. They played in the Spokane area for many years, most notably the Chinese Gardens and Hobart’s. Besides his wife Toni, children and grandchildren, music was his life and he continued to play around Spokane at age 90. Gabriel Sampson Williams Sr. Life Member. Drums 5/16/1912 – 2/20/2015

By the Williams family

Gabriel Williams was the youngest of four children born to Benjamin and Mamie Williams (siblings: Edina, Faye, and Benjamin Jr.). This date, May 16, 1912 was ear- marked as a “great event” in the Wil- liams’ household. He was a warm and considerate child, and grew into a kind, hardworking adult.

Gabriel lived his entire adult life, over 75 years, in the Los Angeles area. Taking on odd jobs, performing at night, and succeeding in completing junior college at age 55, he retired from the Los Angeles School Board, going on to play percussion professionally. A Lifetime Member of Lo- cal 47 musicians union, and a permanent band member with Sony’s Dixieland band in Culver City. He performed locally with his group, the Change Over’s. It is while he was appearing with this group that he was approached by an agent asking if he might be interested in doing movies.

Gabe made his motion picture debut in “Nutty Professor II: The Klumps” starring Eddie Murphy and Janet Jackson, followed by “Mr. Deeds” with Adam Sandler. He also made several key appearances on “Mad TV” as Snoop Doggy Dogg. He also performed as a dying peasant with Mother Theresa. He also made video appearances featuring Jay-Z in “Hay Papi” and a Super Bowl commercial, “The Feel of Cotton.”

Professionally playing with Freddy Beechem, Louis Armstrong, Earl Hines, Red Saunders, Truck Parham, Jimmy Lunceford, Billy Eckstein, Nat King Cole, Percy Mayfield, Roy Milton, Gideon Honore, Roy Milton, and Roy Eldridge, to name a few.

Gabriel earned and received the 33rd degree (as the Illustrious Poten- tate) from the Masonic Order (Santa Monica Chapter), serving that position for one year.

Gabriel had two children, Gabriel Jr. (who preceded him in death), and a daughter, Letitia Ann, his constant friend and companion. He leaves to continue his legacy four grandchildren, 15 great-grands, and nine great-great grands; 47 great-nieces and –nephews, 16 great-great-nieces and –nephews, and loyal cousins and friends. ADVERTISEMENT

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This message brought to you by: Remembering Candi

In December 2014, Local 47 lost one of the most loyal, hard-working, and sweet em- ployees we’ve ever known.

Longtime computer systems administrator Candi Busa- pavanij passed away peace- fully at her home during the night of Dec. 16, 2014. Her sudden loss was a sudden shock to us all, as she had been responding well to cancer treatment and planning to return to the Local in the spring. Just a few days before, friends described her as feeling happy, active and en- ergetic.

Candi began her career at Local 47 in 1985, faithfully serving in the same post for three decades. She would often help members with paying dues or website issues, and helped everyone in the Local 47 offices by churn- ing out digital information from our internal database, maintaining all the computer hardware and software, and countless other duties and tasks. The degree to which Candi’s role in the day-to-day running of the Local cannot be overstated — the impact of her loss has been felt by each and every department.

Candi loved her friends, and loved cooking healthy and delicious food — which she often happily shared with colleagues. Her smile, warm nature, and adorable laugh are warmly remembered and incredibly missed by everyone at Local 47.

We love you, Candi! Photos: Linda A. Rapka Dodger Stadium organist Nancy Bea Hefley, Local 47 Life Member, has enjoyed performing at the ballpark since 1988.

Take Me Out to the Ballgame

Dodger organist Nancy Bea Hefley talks about her three decades with LA’s Boys in Blue

by Linda A. Rapka

Named by some fans as their “favorite Dodger” of all time, stadium organist Nancy Bea Hefley has livened up the ballpark with her signature playing since 1988.

Though the last few years have seen her playtime steadily dwindle, public outcry has been strong enough to see her contract renew for the next baseball season.

And she couldn’t be happier.

A Life Member of Local 47, Nancy initially wasn’t much of a baseball fan (“Though I am now!” she laughs). She sought out the organist position at the encouragement of her husband, a die-hard Dodger fan, and their friend, former Dodger pitcher Tommy John. When she heard that stadium organist Helen Dell was retiring, her husband encouraged her to apply. “I’ve been here ever since,” Nancy Bea said. “They haven’t been able to get rid of me!”

Slowly but surely, over the years Nancy has grown a soft spot for baseball. “At first I didn’t think I’d want to sit at a baseball game every night,” Nancy Bea said. “I didn’t know it was going to be so much fun.”

A lot of that fun comes from not the sport, but the people. “A lot of it is the camaraderie we have here,” she says. “The other just goes along with it. You get to know some of the players. I went down several years ago and Matt Kemp said to me, ‘I always wanted to meet you!’ I said me? Why me? Juan (Uribe) was way out in center field—this is pre-game of course— and Matt yells to him, “Juan! Juan! Nancy Bea’s here!’ That was pretty neat.”

The Dodgers open the 2015 season at home against the San Diego Padres on April 6.

View from the press box, where Nancy Bea performs during each game.

Local 47 Secretary/Treasurer Gary Lasley and Live Performance Assistant to the President Diane Lauerman stopped by Dodger Stadium for a visit last season. Advertisement ‘Billy Elliot the Musical’

With unforgettable music by Elton John, sensational choreography and a powerful storyline, the orchestra for McCoy Rigby’s musical ad- aptation of “Billy Elliot” performed a sensational three-week run at the La Mirada Theatre Jan. 16 through Feb. 8.

Eric Heinly - drums/percussion Jack Majdecki - guitars Ryan Whyman - keys Adam Bhatia - trumpet Sean Franz - reeds John Glaudini - music director/keys Danielle Ondarza - horn Nate Light - bass Joe Stone - reeds

‘Enter Laughing - the Musical’

The musical trio to the hysterical stage version of “Enter Laughing,” featuring music and lyrics by Stan Daniels, enjoyed a madcap monthlong run at the Wallis Annenberg Center for the Perform- ing Arts Feb. 8 through March 6.

Albie Berk - drums Gerald Sternbach - music director/conductor/piano Adrian Rosen - bass Labor News

2015 Edition of Labor 411 is Here!

Labor 411, the nation’s #1 guide to union-made goods and services, has just released its 2015 print edition for LA – bigger and better than ever.

Now featuring more than 8,500 listings, the shopping guide makes it easy for con- sumers to support good, mid- dle class jobs every time they open their wallets. So whether you’re looking for a hotel for out-of-town guests, a fun ven- ue, party snacks, or deciding which new car to buy, you’ll find it in Labor 411!

Available now at labor411.org The Local 47 Referral Service is Now:

The Local 47 Referral Service is excited to announce a brand new name, and a new look to match!

Now known as GIG JUNCTION, we’ve undergone a vibrant rebranding to coincide with a renewed marketing and outreach campaign to enhance our free service connecting Local 47 musicians with employers.

If you are already enrolled in the Re- ferral Service, now’s a perfect time to revamp your page! Visit the new gigjunction.com (your login info is the same) and add new photos and sound clips to your existing profile. If you haven’t yet joined - what are you waiting for? This service is FREE to all Local 47 members — so join today! Contact Gig Junction Adminis- trator Michael Ankney to learn more and get started: 323.993.3174, con- [email protected]

COME BY AND SAY HELLO APRIL 27! Stop by the Gig Junction booth at the April General Membership Meeting to learn more about the free Local 47 referral service. We’ll have applica- tions on hand for you to sign up! (Open to Local 47 members only.) Ed Yourdon/Creative Commons

Professional Musicians, Local 47 and Employers’ Health & Welfare Fund

Staying Active as You Get Older Can Lead to a Happier, Healthier You

As we age, we encounter more medical issues which result in some type of medical provider intervention. This increased use of medical services has a direct correlation with the increase in medical premi- ums.

Collectively we agree everyone needs access to affordable health- care. But, how do we obtain affordable care? As mentioned previously, one factor in reducing cost is to reduce utilization – That means stay healthy. Physical activity is good for people of all ages to maintaining a healthy body.

Staying active can help:

• Lower your risk of heart disease, stroke, type 2 diabetes, and some types of cancer • Improve your strength and balance so you can stay independent • Reduce symptoms of depression • Improve your ability to think, learn, and make decisions

Before you begin...

If you have a health problem like heart disease, diabetes, or obesity, talk to your doctor about the types and amounts of physical activity that are right for you.

Aim for 2 hours and 30 minutes a week of moderate aerobic activities.

• Choose activities that make your heart beat faster, like walking fast, dancing, or raking leaves. • Start slowly. Build up to 30 minutes on most days of the week, at least 10 minutes at a time. • Tell your doctor if you have shortness of breath, chest pain, or un- planned weight loss. Do strengthening activities two days a week. • Try using exercise bands or lifting hand weights. You can also use cans of food as weights. • Breathe out as you lift something, and breathe in as you relax. Hold- ing your breath can cause changes in your blood pressure.

Do balance activities 3 or more days a week.

• Practice standing on one foot. • Stand up from a sitting position. • Learn tai chi (“ty chee”), a Chinese mind-body exercise that involves moving the body slowly and gently. • Sign up for a yoga class, or try following a yoga video at home

Source: Administration on Aging and Healthfinder.gov Work Dues Notices

At its Dec. 9, 2014 meeting, the Local 47 Executive Board passed the following motion: Notice From the Executive Board:

“As a matter of policy, Local 47 will no longer mail checks to members or non-mem- Work Dues Delinquency bers whose delinquent work dues liabili- and Suspension ty is in excess of $1,000. When the Local receives a payroll check for anyone who 1) Local 47 members whose work has such a delinquency, the member dues delinquency exceeds $500 or non-member shall be contacted by shall be suspended and the Secretary/Treasurer’s office. Checks within 14 days of expiration will be de- posited in the Escrow Fund.” 2) non-Local 47 members whose work dues delinquency exceeds If you fall into that category, you will re- $500 shall be referred to the IEB as ceive a postcard informing you that provided in the AFM bylaws your check is in the office. You can call the Secretary/Treasurer’s office at (323) 993-3159 to discuss your work dues delinquency and to make arrangements to pick up your check.

Rehearsal Room Schedule

Rehearsal room rates are $15 per 2½-hour block for regular rooms, and $20 per 2½- hour block for large rooms (1 and 6). All re- MONDAY – FRIDAY hearsals will be 2½ hours in length ending at 10 a.m. – 12:30 p.m. 9:30 p.m. on weeknights and 3:30 p.m. on 1 p.m. – 3:30 p.m. weekends. If you 4 p.m. – 6:30 p.m. require more time, an additional block of time 7 p.m. – 9:30 p.m. must be purchased. The P.A. rate is $10 per rehearsal. SATURDAY & SUNDAY 10 a.m. – 12:30 p.m. Open to ALL AFM members! 1 p.m. – 3:30 p.m

For reservations contact Jeff Surga: (323) 993-3179

Resignation Policy

TO RESIGN IN GOOD STANDING:

In order to resign in good standing, you must email, mail or fax your written request to Local 47 before your membership is suspended.Though dues are due Jan. 1 and July 1, current grace periods extend to March 31 and Sept. 30, respectively; suspensions are posted April 1 and Oct. 1.

In addition to membership dues, all other financial obligations, Local and Interna- tional, must be paid prior to resignation.Your letter of resignation will be presented at the following Executive Board meeting and a written response will be mailed to you. Don’t wait! If you wait, you will be required to pay another half year’s dues or clear- ance fee.

Overture Editorial Policy

All material accepted for Overture Online and is subject to editing in accordance with editorial policy and style and the dictates of space, clarity, sense, interest and union members’ welfare. Submissions will be considered based on relevance and interest to the AFM Local 47 membership.

Letters to the editor are limited to a maximum of 400 words and are subject to editing. Not all letters submitted will be published. Obituaries (Final Notes), club reports and article submissions are limited to a maximum of 500 words. Final Notes should generally be personal recollections, not biographical details. Articles, sto- ries and advertisements must be attributed only to the writer(s) involved.The edi- tors do not necessarily agree with or support the views expressed in submissions to Overture. Anonymous or unsigned submissions will not be printed.

Photos may be submitted via email or in hard copy (developed photos only; not printouts of digital photos) and must include complete caption information (full name of photographer and of everyone pictured, date and location of image) or they will not be published. Photos will not be returned unless specifically requested by sender.

Overture does not solicit nor hire freelance writers or photographers and accepts submissions solely on a volunteer basis. Articles and photos become the property of Overture and may be republished in any format. Overture and AFM Local 47 do not expressly share the same views as contributing writers, nor expressly endorse the intent or judgment that may be present in submissions.

Deadline for all advertisements and submissions is the 15th of the month preceding issue date. Overture reserves the right to accept or refuse any submission, including advertisements, at its discretion.

Submissions may be sent to: AFM Local 47, Attn: Overture 817 Vine St., Hollywood CA 90038 ph (323) 993-3162 fx (323) 466-1289 [email protected] Membership Dues Policy

Annual Membership Dues Make checks or money orders payable to: Regular Member Full Year: $210 Half Year: $110 AFM Local 47, 817 Vine St., Hollywood, CA 90038-3779 Life Member Active Life Member: $110 You can also make payments with VISA, Inactive Life Member: $90 MasterCard or Discover (no bankcards)

Suspension/Expulsion/Reinstatement

Annual dues for regular members, Life Members and Inactive Life Members are due Jan. 1. Dues must be received by March 31 to avoid suspension. Dues and reinstatement fees must be received by June 30 to avoid expulsion.

Regular member semi-annual dues are due July 1. Dues must be received by Sept. 30 to avoid suspension. Dues and reinstatement fees must be received by Dec. 31 to avoid expulsion.

When paying by mail, please write “Attn: Dues/Membership Department” on your envelope. When paying by Online Banking the checks must include your name and your Local 47 six-digit account number that appears on your statement.

Death benefit is not payable to a beneficiary if the member was suspended, expelled, or had resigned at time of passing.

Credit Card Fees: For further information, From please contact the Dues/ $1 to $100 $1 Membership Department: $101 to $200 $2 $201 to $300 $3 (323) 993-3116 $301 to $400 $4 $401 + $5 NO EXTRA FEES YOU PAY ONLINE [email protected] AT AFM47.ORG!

Please Note the Following Important Information: If your membership dues are received by the Local after MARCH 31 (annual or sem- mi-annual payments) or SEPT. 30 (semi-annual payments only), your membership dues payment will be subject to a reinstatement fee and will be allocated as follows:

First - Reinstatement fee.

Second - Any remaining amount will be applied to current period membership dues.

Third - Any remaining balance will be applied to unpaid fines.

Fourth - Any remaining balance to late fees.

Fifth - Any remaining balance to work dues.

Example: John Q. Member pays $190 but it is not received until April 1. The result, without exception, is as follows: Any payments received after March 31 will go into credit and remain in credit until the last week of June. At that time, one half-year will be applied plus a $25 reinstatement fee.The remainder of the credit will be applied when full payment is received. The amount owed will show on your statements.

If you anticipate a late payment for full annual dues and you do not want your payment to be applied as in the above example, you must include the extra $25 reinstatement fee with your payment totaling $235. The reinstatement fee of $25 also applies to Life Members and Inactive Life Members.

As a reminder, membership dues statements are sent as a courtesy to you. If, for any reason, you do not receive a statement, it remains your responsibility to pay your membership dues and other financial obligations to Local 47.

HELP A MUSICIAN IN NEED Be an anonymous donor to the Local 47 Musicians Relief Fund. Send contributions to the Secretary’s office or call (323) 993-3159 for more information. Advertisement Auditions

Symphony 47 Eímear Noone, Music Director Announces Openings For: VIOLINS VIOLAS CELLI BASS

Open to ALL Musicians — Union* and Non-Union members welcome! Interested parties for instruments indicated may show up at rehearsals: EVERY MONDAY, 11am — 1pm Local 47 Serena Kay & Earl Williams Auditorium 817 Vine St. Hollywood CA 90038 or contact orchestra liaison Dr. Janice Foy 818.892.8737 * All union musicians will receive union compensation for performances Learn more about the orchestra at symphony47.org

PLACE AN AUDITION NOTICE / JOB POSTING

Free for CBA orchestras $100 for non-CBA orchestras/employers

Oﬀ ered to orchestras posting positions for AFM union employment. There is no fee required for orchestras that have a collective bargaining agreement (CBA) with Local 47. Orchestras outside of Local 47’s jurisdiction oﬀ ering union employment and those wishing to post other jobs pay $100.

Deadline: 20th of month preceding desired issue

Contact: [email protected] 323.993.3162 Auditions

Announces auditions for the following positions: May 21, 2015 —Second Oboe, Prelim and Final May 22, 2015 - Section Bass (1 position), Prelim and Final

Pay Scale: Section: Rehearsal $132.82– Performance $165.54 Travel allowance and 10.9% AFMEPF Wages reflect scale for the 2015-16 season.

Auditions will be held at The Lobero Theater, Santa Barbara

Highly qualified applicants should send, fax or e-mail a one-page résumé no later than May 1, 2015 Deposit of $50 must accompany application mailed to address below: Andrew Klein, Personnel Manager Santa Barbara Chamber Orchestra P.O. Box 90903, Santa Barbara, CA 93190 Fax (805) 966-2448; [email protected] Repertoire list will be made available at www.sbco.org in April. List will not be provided over the phone. Santa Barbara ChamberSymphony Orchestra is an Equal 47 Opportunity Employer Eímear Noone, Music Director Announces Openings For: VIOLINS VIOLAS CELLI BASS

PLACE AN AUDITION NOTICE / JOB POSTING

Free for CBA orchestras $100 for non-CBA orchestras/employers

Deadline: 20th of month preceding desired issue

Contact: [email protected] 323.993.3162 Auditions Symphony 47 Eímear Noone, Music Director Announces Openings For:

VIOLINS VIOLAS CELLI BASS

Open to ALL Musicians — Union* and Non-Union members welcome! Interested parties for instruments indicated may show up at rehearsals:

EVERY MONDAY, 11am — 1pm Local 47 Serena Kay & Earl Williams Auditorium 817 Vine St. Hollywood CA 90038

or contact orchestra liaison Dr. Janice Foy 818.892.8737

* All union musicians will receive union compensation for performances

Learn more about the orchestra at symphony47.org

Symphony 47 Eímear Noone, Music Director Announces Openings For: VIOLINS VIOLAS CELLI BASS

PLACE AN AUDITION NOTICE / JOB POSTING

Free for CBA orchestras $100 for non-CBA orchestras/employers

Deadline: 20th of month preceding desired issue

Contact: [email protected] 323.993.3162 Job Openings

MUSIC INSTRUCTOR

Posting Close Date: May 4, 2015

Job Description: The Los Angeles City College (LACC) Music Department seeks candi- dates for a full-time, probationary (tenure track) position in Commer- cial Music. The ideal candidate is a dynamic and inspirational teach- er with strong connections in the music industry, expertise in music recording software, and the ability to teach instrumental group classes and conduct ensembles. The individual would be responsible for devel- oping the commercial music program, focusing on degrees, certificates, and outreach.

Minimum Qualifications: Master’s degree in Music, OR a Bachelor’s in Music and Master’s degree in Humanities, OR equivalent

VIEW FULL JOB POSTING AT https://laccd.peopleadmin.com/postings/2126

Contact: Allison Jones (323) 953-4000 ext. 2060, [email protected] Symphony 47 Eímear Noone, Music Director Announces Openings For: VIOLINS VIOLAS CELLI BASS

PLACE AN AUDITION NOTICE / JOB POSTING

Free for CBA orchestras $100 for non-CBA orchestras/employers

Deadline: 20th of month preceding desired issue

Contact: [email protected] 323.993.3162 Classifieds

Your Classified Ad here!

Deadline: 15th of the month preceding issue date $25 for up to 25 words

Contact: [email protected] 323.993.3162

WANTED

Jazz L.P.s / Sax Mouthpieces wanted: 1950s - 1960s jazz records: Blue Note, Prestige, small group modern jazz bought. Otto Link, Meyer, Selmer mouthpieces purchased. 310-397 7867

PAST ISSUES OF OVERTURE $100 EACH for April 1939, April 1947, January and February 1948. AFM member research- er will donate these to complete the Local 47 Archive set. Contact: Jack Bethards 707-747- 5858 or [email protected] online ADVERTISING

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Published the first of each month, Over- ture Online is offered free on the web and in the App Stores of smart devices.

Ask about our Repeat Advertiser and Local 47 Member discounts!

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Contact: 323.993.3162 [email protected]